Drop 2 Chord Inversions for Jazz Guitar

Along with their closely related cousins the Drop 3 Chords, Drop 2 Chord Inversions are some of the most popular and commonly used voicings in jazz guitar.

They are easy to play, don’t require a lot of stretches, and because of their “jazzy” sound, they’ve become favorite comping and chord soloing tools for players such as Joe Pass, Ed Bickert, Wes Montgomery and George Benson.

Drop 2 Chord Inversions are built by stacking four notes together, on adjacent strings, with the following interval patterns:


  • Root Position: R-5th-7th-3rd
  • 1st Inversion: 3rd-7th-Root-5th
  • 2nd Inversion: 5th-Root-3rd-7th
  • 3rd Inversion: 7th-3rd-5th-Root


Notice how the 3rd and 7th, as well as the Root and 5th, are always next to each other in these voicings.

This knowledge will help you memorize Drop 2 Chords, as well as understand the theory behind how they are built.

Feel free to use this page as a reference point for Drop 2 Chords, rather than memorize them all at once.

The following chord dictionary contains Drop 2 voicings for:


  • Major 7
  • Dominant 7
  • Minor 7
  • Half Diminished
  • Diminished
  • Minor Major 7


Drop 2 Chord Inversions – Maj7


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drop 2 maj7 chords


drop 2 maj7 chords 2


Drop 2 Chord Inversions Maj7



Drop  2 Chord Inversions 7th


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drop 2 7 chords


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Drop 2 Chord Inversions 7th



Drop 2 Chord Inversions m7


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drop 2 cm7 chords


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Drop 2 Chord Inversions m7



Drop 2 Chord Inversions m7b5


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drop 2 cm7b5 chords


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Drop 2 Chord Inversions m7b6



Drop 2 Chord Inversions Dim7


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drop 2 dim7 chords


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Drop 2 Chord Inversions Dim7


Drop 2 Chord Inversions mMaj7


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drop 2 mMaj7 chords


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Drop 2 Chord Inversions mMaj7


Do you have a question about Drop 2 Chord Inversions? Share it in the comments section below.


  1. Badge, June 27, 2011:

    Hi matt. These are great. Have you thought about including a PDF link to to the chord charts so it is ‘printer friendly’? That would be great!

  2. Matt Warnock, June 27, 2011:

    Badge, I have a series of snooks coming out, in PDF form, that will have all of this info nd much more, stay tuned for the launch dates!

  3. richard v, August 14, 2011:

    matt i am a little confused on the drop 2 chords. how do i know which note is the name of the chords- by reading the top note???? of each example.?

  4. Matt Warnock, August 14, 2011:

    Hey Richard,
    Here is where the root is for each chord.

    Root Position = Root is lowest note

    1st Inversion = Root is 3rd note

    2nd Inversion = Root is 2nd note

    3rd Inversion = Root is 4th note

    Hope that helps!

  5. Michael Kapp, September 8, 2011:

    Thank you Matt!

  6. Matt Warnock, September 8, 2011:

    No problem Michael!

  7. Theo, December 5, 2011:

    So ALL of these chords are C and the given quality?

  8. Matt Warnock, December 5, 2011:

    Yes all of these examples are in the key of C, root C, then the quality of each chord.

  9. Alex, December 20, 2011:

    Matt, the light finally came on. I have been struggling trying to understand inversions and not making any progress. Finally after studying the Drop 2 section it has become clear. It is all about the order. I knew for the first inversion that the 3rd becomes the bass note; however i never knew that it is followed by the 7th, Root, and then 5th. I kept trying to keep the orginal order of the chord i.e. R, 3rd, 5th, 7th even for inversions. Thanks for all the great information on your site.

  10. Matt Warnock, December 20, 2011:

    Very cool Alex, you got it!.

    R 5 7 3

    3 7 R 5

    5 R 3 7

    7 3 5 R

    So the R and 5 are always together and the 3 and 7 are always together, so that helps me think of each inversion as well.

  11. Ivan Osborne, December 22, 2011:

    Maybe I’m missing something, (a grey cell perhaps), I’m trying to apply logic but the maj7 examples with “B” in the form, these are 9ths?

  12. Matt Warnock, December 22, 2011:

    Hey Ivan, the B is actually the major 7th interval.

    C = Root
    E = Third
    G = Fifth
    B = Seventh

    That’s it, no ninth in that chord. Thanks for checking out the site!

  13. richard, December 26, 2011:

    mi matt- haveing a problem with terminology/ i see what you are doing w.notes but have a problem distinguishing a drop chord from an inversion. can you straighten me out???

  14. Matt Warnock, December 26, 2011:

    Hey Richard,
    No worries, a Drop 2 chord is the name of a chord shape on the guitar, so

    R – 5 – 7 – 3 interval structure.

    Then, an inversion is just taking each of these notes and moving them to the next note in the chord.

    R becomes 3

    5 becomes 7

    7 becomes R

    3 becomes 5

    So the Root position of a Drop 2 chord is:

    R 5 7 3

    and the first inversion is

    3 7 R 5

    I hope that makes sense

  15. Ammo, January 1, 2012:

    Interesting it’s called “Drop” 2 when in fact the second note of the chord is raised an octave. Now THAT would make sense (2nd inversion, standard -close- position is 5-7-R-3 but in Drop2, is 5-R-3-7).
    Thank you for publishing this; I have been puzzling over it for a long time.

  16. Matt Warnock, January 1, 2012:

    Glad you dug it Ammo. That’s how I learned to think about then, raising the second note up an octave. But there is another way to think of it as well. Take a closed position chord, CEGB, the lower the second note from the top, G, an octave and you get GCEB, a drop 2 chord. Either way of thinking works, I like the first way like you mentioned, but other people like the second way. Whatever works!

  17. Ammo, January 1, 2012:

    Oh! Also, you might explain that there are 3 fingerings for Drop2 voicings, because they are adjacent strings (6-5-4-3; 5-4-3-2; and 4-3-2-1. The Drop2 and Drop2&4 voicings have only 2 possible fingerings.
    It wasn’t until I went through the exercises that I realized you were providing ALL those fingerings.
    Thanks again.
    I intend to build a chord diagram library in Finale using these fingerings.

  18. Ammo, January 13, 2012:

    Hi Matt, I would like to rename the inversions. According to Wikipedia, under “Block chords”, Drop 2 – the second voice from the top is transposed one octave lower. This is what you say in your previous reply, but it is inconsistent with your naming.
    Root position, 1 3 5 7, becomes 5 1 3 7.
    1st inversion, 3 5 7 1, becomes 7 3 5 1.
    2nd inversion, 5 7 1 3, becomes 1 5 7 3.
    3rd inversion, 7 1 3 5, becomes 3 7 1 5.
    I had analyzed the chords from the way you named them, and mistakenly concluded the rule was to raise the second voice from the bottom by an octave.

  19. Matthew Warnock, January 13, 2012:

    Yeah, I have pages on Drop 3 and Drop 2 and 4 chords as well, so I just focused on the Drop 2 chords on this page. There are three string sets for drop 2, as you said, in the notation above, and on the drop 3 and drop 2 and 4 pages I wrote out the two string groups, 6th string and 5th string roots. Though when I play these chords, I usually use Drop 3 chords when I want a 6th string root, or sometimes a drop 2 and 4, I rarely play drop 2 chords on the 6th string root, just because I find the sound muddy, but if you have a brighter sounding guitar/amp you can use those chord shapes as well.

  20. Matthew Warnock, January 13, 2012:

    Yeah, I wouldn’t rename the inversions, only because Drop 2 does come from closed position, like you said, but they are their own entity. So, it might be confusing to relate the two, as far as the names of inversions are concerned. If you did that, then 5-R-3-7 would be the Root position of a drop 2 chord, since it is built from the root position of the closed position chord. But that’s kind of confusing, since the root is not in the bass. So I would stick to calling R-5-7-3 the root position of a drop 2 chord, and working the inversions up from there. It’s just common practice to call the chord root position when it has the root in the bass. That’s all.

  21. Henrique, April 5, 2012:

    Hello Matt, I’m studying voicings (drop 2) right now and I can’t understand one thing, so here’s my doubt:

    Let me explain:

    When we have the inversions, we have:

    Root position – 1357
    1st inversion – 3571
    2nd inversion – 5713
    3rd inversion – 7135

    and then, when we’re working with drop 2, we have

    Root position – 5137
    1st inversion – 7351
    2nd inversion – 1573
    3rd inversion – 3715

    , because we transpose the second highest note from the top one octave lower, right??

    What I can’t understand is why you refer to the drop 2 chords, for example, in root position, 1573. ??? The correct form for drop 2 chords in root position is 5137, right?? So, why do you say that it is 1573?? I’ve understood all about this topic but I can’t clear my mind…

    I’m not English, I’m portuguese, so I’d be delighted if you could explain it to me in a lighter language, like, in a simple way, for me to understand it better.

    Waiting for your answer, THANK YOU VERY MUCH.


  22. Matthew Warnock, April 5, 2012:

    Oi Henrique,
    Eu acho que de “Drop 2″ acordes como uma forma na guitarra. Por isso eu continuo a Root como a nota mais baixa para a primeira posição. Todas as outras formas na guitarra tem a tônica como a nota mais baixa na posição de Root, e assim eu faço o mesmo para “drop 2.” O que você disse é correto, mas acho que funciona melhor para arranjar, mas na guitarra é mais prático para ver a Root como a nota mais baixa desde que é como vemos todos os outros acordes como “Drop 3.” Espero que ajude. ambos são boas abordagens, mas acho que este apenas se encaixa melhor na guitarra. Abraços

    Hi Henrique,
    I think of ‘Drop 2″ chords as a shape on the guitar. Therefore I keep the root as the lowest note for the first position. All of the other shapes on the guitar have the tonic as the lowest note in root position, and so I do the same for “Drop 2.” What you said is correct, but I think that works better for arranging, but on the guitar it is more practical to see the root as the lowest note since that is how we see all of the other chords like “Drop 3.” I hope that helps. They are both good approaches, but I think that this one just fits better on the guitar. Hugs

  23. bebop disciple, April 19, 2012:

    Hi matt
    I’ve known about the inversion however not in the drop 2 form,my issue is coming up with a proper practice routine,hand stamina exercise and improvisation,I’m not into playing fast however I’d love to pick up some pace.

  24. Matthew Warnock, April 19, 2012:

    for sure, practicing these chords can be tough at first. Here is an article that might help you, I’m also doing a series on how to practice these chords coming up next month that you might like.


  25. Mark, May 31, 2012:

    What are snooks?

  26. Matthew Warnock, May 31, 2012:

    Mark, they are books when I type too fast and hit the wrong keys :)

  27. Mark, May 31, 2012:

    Got it, thanks! Absolutely love the site! Thank you so much for sharing your knowledge freely with the world.

  28. Matthew Warnock, May 31, 2012:

    No problem thanks for checking out my site, much appreciated!

  29. ColinO, June 28, 2012:

    Great stuff Matt. Thank you for all the work.

    Are there drop 2 voicings for extensions as well that are helpful – ie 9, #9, b9, 11, etc? And if so, at the risk of asking too much, do you have charts for those as well?


  30. Matthew Warnock, June 28, 2012:


    I usually use other chords, rootless voicings, instead of Drop 2 13th chords etc.

    So for a D13 chord I would play F#m11b5 instead, or for D9 I would play F#m7b5 instead.

    you can see more of that kind of playing in this article.


  31. James Malone, August 2, 2012:

    Hey Matt. If I were to add extensions to a drop two how would I voice the chord and it’s extensions? For example, would a root position minor nine be R-5th-7th-3rd-9th? Thanks.

  32. James Malone, August 2, 2012:

    Sorry, I should’ve read the above comment!

  33. James Malone, August 2, 2012:

    Okay, a better question: Can I use these chords when playing with a bass player, pianist or both?

  34. Matthew Warnock, August 2, 2012:

    Yeah you can use these with all of those instruments, I would just watch the 6th string roots with a bass player as it might be too muddy, but the middle and top 4 string groups will work great.

  35. crimson, December 4, 2012:

    Should we just memorize drop 2 inversion and leave the normal inversion aside so as not to confuse us?

  36. Matthew Warnock, December 4, 2012:

    I would say start with Drop 2 and Drop 3 chords first then go from there.

  37. Steven Weiss, April 17, 2013:

    Hi Matt,

    Thanks for the great lessons. I just started practicing drop 2 and 3 voicings, and I do the two methods you recommended: horizontal and vertical. But there is a third way to practice them that I think is the most beneficial.

    I choose one root note and then play all qualities around that one note. So for example, if I’m playing a C on the 8th fret of the 6th string, I’ll play major 7, dominant 7, minor 7, minor major 7, half diminished 7, diminished 7, and even major augmented 7 and augmented 7. I do this for drop 2 and 3 voicings, and then do the same for different inversions. Doing this systematically allows me to see where each chord tone is, and how changing each note changes the quality of the chord.

    Is there anything you would add to this third method?

    Thanks a heap,

  38. Matt Warnock, April 17, 2013:

    Hey Steven, glad you are digging these chords and the lessons. I agree with the 3rd way, it’s something that I teach as well, and use it for learning arpeggios in one position as well as any chord. The other thing you could do is run a whole tune in one position, using all different inversions to keep your hand within say 4 frets as you comp through a whole tune. Great way to work on tunes and learn chords at the same time.

  39. Steven Weiss, April 17, 2013:

    Thanks Matt!

    Great advice. I often stumble when trying to think of ways to take technical practice into tunes. Any suggestions on some first standards to try this with?


  40. Matt Warnock, April 17, 2013:

    Hey, try Summertime, the blues in any key, take the a train and satin doll to start. Great tunes for this stuff.

  41. Pete, June 24, 2013:

    Matt –

    You are a true saint for providing this remarkable material to the public. The work and care you have put into this is astounding. This world would be a much different place if everyone had a heart like yours. You know…..the governing law of the universe is that people reap what they sow – so I can assure you that you will reap great things…. either in this life or the next.

    Thank you.


  42. Pierre, August 18, 2013:

    Hi Matt.
    Thank You for the vast array of support for your teaching. Its a very impressive.
    I am a beginner, and i cant seem to find the TABS for the fingering positions of chords for the videos you are showing for the Drop 2 Inversion.
    Please advise options?????

    Thanks Pierre

  43. Matt Warnock, August 18, 2013:

    Thanks Pierre, glad you dig the site. All of the tabs for the Drop 2 chords from those videos are right on this page, you can see them right next to each video. Cheers.

  44. Jean, August 6, 2014:

    Hello, dear instructor!
    I used to come here before and practice the inversions, and they were written on palettes (fingerings on guitar neck), but now everything is changed and they are written as music notation and tabs! Where can I find the previous page? Please, I learn much better and easier with palettes than tabs. Jean

  45. Matt Warnock, August 6, 2014:

    Hi Jean. I am slowly working my new site design right now. Some of the articles will take a few days to be updated, so those grids will be back shortly.

  46. Jean, August 6, 2014:

    Thank you ever so kindly, sir!
    I can’t wait!
    Your hard work is highly appreciated, and you have mine, and I am sure all the users of these resource’s utmost respect and gratitude.


  47. Pete Jinks, August 14, 2014:

    Hi Matt, I’ve just discovered your helpful site and may be able to shed some light on the confusion in earlier comments around inversions and octaves in regard to the title “Drop 2″. I believe this needs to be thought of in relation to a sequence of all the consecutive chord tones, then two of them are “dropped” (i.e. not used in creating the chord). This would tie in with early jazz theory and how it broke away from classical music’s strict harmonic sensitivities. Rimsky-Korsakov was absolutely clear that, when orchestrating, a chord must contain all its notes in sequence (even if distributed between different instruments), so to drop two would be very jazz to early theorists.

  48. Jean, August 20, 2014:

    The palettes please (the grids). When are they coming back?
    Best Regards


  49. Matt Warnock, August 20, 2014:

    Hi Jean, those files were actually lost in the transfer, so I wil have to redo them. I am actually planning on redoing all of my scale/arp/chord pages, so will be doing that sometime later this year/early next year. They will have much more detail, grids, audio, and practical examples. So much improved.

  50. Matt Warnock, August 21, 2014:

    Hi Jean, I’ve updated the chords again for this article, going to do the rest in the next day or so. Cheers.

  51. Jean, August 21, 2014:

    I don’t know how to thank you, dear instructor!
    You are very attentive to our needs, your true disciples!

    You really should consider accepting support! When you attend to our needs so quickly, we feel the need to give back! I mean, what do you have to lose?

    Anyway, you are very kind, I am grateful, and I thank you.


  52. Matt Warnock, August 21, 2014:

    No problem Jean. If you want to donate something just buy an ebook. That way you can give to the site if you want and you get a jazz book as well!


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